1st Stage: Shock / Disbelief

Marilyn Monroe remains one of the most influential actresses and cultural figures of the 20th century. Her performances pulsed with magic and childlike charm that captivated audiences, and her blockbuster films, along with her appearances alongside the Kennedys, made her one of the first celebrities to blur the line between entertainment and politics. Her energy seemed unparalleled; admirers assumed no tragedy could touch someone so luminous. She was, after all, a marvelous actress, and with that skill came a facade that concealed the reality of her life from those who only saw her in the spotlight.

Behind the glamour, Monroe faced hardships no amount of beauty or performance could mask. She grew up in an abusive family, had three miscarriages, and struggled with depression, bipolar disorder, and severe anxiety. In her final days, she had to maintain the performance for a world that never looked away while dealing with neuroticism. Everything was seen, and stepping out of character meant career downfall. She denied it all publicly while everything inside was collapsing. When Monroe took her own life away from watching eyes, only her housekeeper found Monroe lying unconscious on luxurious bed sheets, a final rest for the restless, where the bed’s promise of comfort was kept only in death.

In Harold Town’s Superstar, Monroe’s image shifts from the vibrant, familiar illustrations of movie posters to stark black and white rendered in just a few decisive brushstrokes. Parts of her face remain undrawn, offering only suggestive details, just how the world saw her: both viewer and viewed looking at reality wrong. Not because it wasn’t there, but because it wasn’t pleasant to acknowledge. In denial, sketching only what we can bear to see, leaving the rest to space.